Neptune Frost (2021) | Anisia Uzeyman, Saul Williams

thank you for joining us um for the archive science fiction against the margin series which is part of the PST art art and science Collide um presented by the Getty we're thrilled to be part of this program and to thank the Getty for its generous support in making this project possible when the curators for this series envisioned science fiction against the margins they started during Co uh putting together ideas and creative inspiration largely in isolation connecting through technology film programming film making And archiving are all incredibly collaborative efforts so it's no wonder that after considering over 300 works that pushed against the boundaries of Science Fiction the moving images selected often reflected that reimagined hero tonight's films embody this alternate reality while the science ition against the margin series continues through mid December and we encourage you to return I'm delighted that we opened the evening with a trailer for a seven Night series launching November 1st a film series for you celebrating the giant robots 30th Anniversary um was curated with the iconic Magazine's co-founder Eric Nakamura and features special guests almost every night please visit cinema. usa.edu for more details all of the archives the Wilder are free thanks to a gift from an anonymous donor and we're grateful to them for their support and to the Hammer Museum for our longstanding collaboration we're in gratitude to the series Community Partners uh the Sundance Institute and the UCLA International Institute and we want to thank the Cal Arts office of alumex and family engagement and queer fil La who are also tonight's Community Partners many thanks to our colleagues in the UCLA film and tele School of theater film and television who collabor with us not only in supporting the public program but also the faculty who contributed to the forthcoming anthology of original scholarship accompanying this series and big thanks to the archive staff for all their work um for the work that they do um for our public programs to make them a success I want to call out our fantastic curators for the series uh distinguished Professor Chon Ora as well of archive staff members Maya Mont smuckler and Nicole useto uh Nicole is a fantastic part of the team wrote tonight's film notes and is a driving force behind this series finally I'd like to thank our theater staff and projection team who make all of our screenings possible we're joined by two relatively new members of the team tonight Alex Bens senior projectionist who started a few months ago um in the booth and beandrea July public programmer who joined the archive team last month beandrea is a film programmer independent cultural writer film critic and audio producer based in Los Angeles most recently she was the 20123 to 2024 Neiman journalism fellow at Harvard University where she studied black film criticism in the early 20th century she's also a freelance film critic for the New York Times and was a producer for the 2023 CNN podcast the prince mixtape which was named one of the best podcasts of 2023 by Spotify Andrea is also a member of the Los Angeles Film critics Association we're delighted that she's joined the team and that she'll be the moderator for tonight's Q&A so to share more about tonight's programs uh please join me in welcoming her to the [Applause] stage all right good evening lovely to see you all here I'm super happy and honored to be uh joining the archive and hopefully contributing to the great work that goes on here um before we get into the details of tonight's program I just want to highlight a couple upcoming programs that you um should look out for um one is next Sunday uh my colleague Mark Quigley the um John H Mitchell John H Mitchell television curator is presenting an afro futurist program that has uh work about Gil Scott Heron a tribe Cod Quest and George Clinton Parliament in the Funkadelic allinone program so if you can take that much funk you should come back and um also just looking ahead to our closing night for the science science fiction against the margin series we're having the Palestinian filmmaker Lissa sansor um here presenting work um so just check out all the details at cinema. ucla.edu hope to see you come back so let's get into tonight's program um tonight's program as you know is called Decay it consists of three films uh the first up will be two short films one is called AI Mama directed by atalin and who is actually here tonight um I'll tell you more about her in a minute about them in a minute and um the other short is called cord dump darar directed by franois notes and the third is a featur length um film called Neptune Frost uh by the codirector ctors Ania uzan and Saul Williams who are thankfully here tonight and we'll do a Q&A after that so definitely stick around um and Tech Decay is a visual contemplation of what happens after years of use and misuse of the tech materials we rely on to communicate the films in this program imagine the postte era in which these discarded materials take their own course at times seeking revenge against their creators in AI Mama recycled scraps of tech are assembled to revive Forgotten Dreams while in cord dump dear it tracks the effects of human Scavenging and melting minerals for the resale in the West African capital of Sagal and in Neptune Frost the toxic and deadly mining of col tan used to power lithium batteries or iPhones sets the scene for Uprising and inner and outer transformation and all of these films shine a light on human efforts to create control and Destroy methods of communication and to imagine a postte future right now in the here and now so uh we're we're fortunate to have the AI Mama director here ATA Lynn I I want to just read their uh bio um atalin is a filmmaker currently based in Los Angeles and a co-founder of total blur films their work wanders from anarch anarchic cyberpunk to meditative folktales let me say that again anarchic cyberpunk to meditative folktales United by themes of Yearning and conflicting realities please welcome [Applause] aska um um hi everyone uh thank you may thank you viandra for starting off the program I'm going to read off of paper because I'm really nervous um it's easier to do this um okay uh to create a work of Science Fiction one does not need an imagination the tension of the future lies within the present in AI Mama K breathes life into a computer by feeding it their childhood diary entries thus creating an echoed form of their mother the influences of tsil the Ironman in other Japanese cyberpunk films will be obvious but other than a homage I wanted to reflect on how artificial intelligence is used on all of us which is now almost inescapable like a mother AI is built to predict our needs and desires but what happens when we use tools that save us from crucial steps what comes out of the black box and what is Left Behind the answer is all around us Google AI falsely summarizing our searches to cut down the time we take to find information predu predictive policing in historically overp policed black and brown neighborhoods the Israeli military's AI program lavender to permit the bombing of countless Palestinian civilians we simply need to look at the presence of power control imperialism disguised as efficiency what is left untranslated within this collateral damage of data cyborgs are human machine mother child Creator and creation all at once and we can apply the synthesis to ourselves regardless of binaries that cleanly divide gender sexual orientation race nationality enemy or Ally we constantly dissolve these borders with the facts of our existence and so like the Iron Man and the metal fetishist the filmmaker and the camera opened Endless Possibilities to rust the whole world with their cyborg Beauty thank you um and enjoy the films [Applause] tonight Ania uzan is an actress playwright and director born in Rwanda she studied drama at the superior School of theater in France and her directorial debut dream states was shot in entirely on iPhones and starred Saul Williams um William nadam and bosia the film premiered at Laff in 2016 she's also directed numerous music videos and as an actress Ania has starred in among others the award winning film o where she met Saul Williams and the feature film I monamore by Getty felen which premiered at Tiff 2017 her first book a poetic treatment of her original scrip green pay Saia you'll correct me on that was published by n Ault in 2021 and Saul Williams is a poet musician and actor he is the co-director screenwriter and composer of the science fiction musical Neptune Frost Saul made his acting and screenwriting debut in the 1998 feature slam which won sundance's grand jury prize and the KH film festivals camor Saul has released six albums and published five books of poetry all right so give it up for Ania Usman and Saul [Applause] Williams um yeah sorry to do that to you um um so I guess you know the thing that really strikes me about this film I've seen it a number of times now is just how it's one of those films you go back to every time you watch it you can get something new out of it and as I was telling you earlier the first time I saw which I think was when you premiered at Tiff um the Toronto International Film Festival in 2021 and um then I recently rewatched it you know in preparation for this screening and it felt so much like we we had moved so much in time between just those three years like it feels so much less far away um and so I wonder if you could talk about just start out talking about um the the is issue of Time how you approach time in this film because it's obviously the narrative is sort of both Timeless and also like very specific yes well um I think I think that the the approach to time in this film it's an interesting question just because even as we um were in the process of of writing music World building creating you know the story we we kind of mapped out I feel like in my head I kind of knew it would take around seven years to do it um and um I knew that there'd be like three albums worth of material all this stuff you know and um and so the the sense of like I don't know you think of like Double Dutch and timing your entrance and that thing it's like but when the ropes are over there like the just in terms of the precence of the topic right like because even when we released the film in the summer of 2022 um we were still having to explain to people what Colton was and here we are right and it's it's been about a year now that the majority of of us are like oh yes what's happening in the Congo right um so to consider the fact that we started working on this surrounding this topic in 2013 is um we were aware of the fact that we were talking about something that it was important to to bring up for it to be a part of the social dialogue um and and even when we introduced it let's say on Kickstarter in 2018 um we saw the sort of Engagement and excitement that came from people going oh [ __ ] that's interesting but because of the fact that this film is kind of gaaged on the sense of there's the kind of film we want to see um there was never any sense of time getting in the way we just kind of knew when things had to happen and the most urgent moment came um right before we went into production that was when we were clear that it was now or never and we had a lot of forces moneyed forces um that were trying to tell us at the time well you don't have all the money um you shouldn't shoot right now and we were already in this is in uh we started shooting this film on February 3rd uh 2020 2020 2020 and wrapped on March 4th 4th 2020 yall remember what happened then right you remember what happened there right so but when we were doing pre-production in Rwanda in in you know November December and start building the set and working with the Actors and The Whole Nine and still raising money um we definitely had people who were like no maybe it's one of those projects that you you know you shoot a little now and you shoot you can afford now we're like no no it's now or never we had not heard about what was happening and what was going to happen we had no idea not until the last like three or four days of the shoot someone said did you hear about that thing we were like what thing someone said I heard about something in China did did you hear about that thing the last three or four days of the shoot we were in the Whirlwind of the film we had no idea right you didn't even look at your dailies right I think I remember ex no we didn't even we didn't even have time to look at our dailies as we were shooting um so we wrapped on March 4th and we had an engagement uh that we had been scheduled to attend since like December in Rwanda in Kali um a like red carpet event for our friends film that was coming out in Randa we knew that we'd go to it on March 7th March 8th and we arrived at the event and there was a long line and we were like this is crazy why is why is a line in the parking lot to get in this thing like we have everybody has invitations like what is it and as we got closer we saw these two people in white lab coats with white guns pointing them at the head of everybody who entered taking their temperature but we had never seen that before we had never seen that before that didn't used to be common that wasn't common so we were like what the hell are they doing why are they pointing these white guns at their head and the next day the country shut down um which is way before things shut down here we arrived here in Los Angeles on March 17th um with our towers and so I say that in response to your question about time right I told you when we started the project the subject matter how that correlates with everything we're talking about now all of those things so there's a sort of like kind of a Wizardry in our relationship to time like we knew that we had to shoot the film then we knew but we didn't know what we learned like I feel also that there is um uh there is a a a global um um thing that is happening with time right now uh for the last um year um and before that with coover I think the sense of time has kind of um shap shifted you know like um and so um things that we were projecting as um as a fiction suddenly became real you see right yeah so feel that it's it's it's that is what's happening with you know uh the the viewing of the film between 2021 and um 2024 uh which is nothing in time but which seems to be I don't know I feel that relationship to time also um globally and and and yeah personally last from from the p pmic to to the ongoing genocide like what time has meant to all of us at this point is just crazy how many years we've lived over the past few years you know and then on one other thing I'll add on a like personal side note is that I have a special relationship with time and I always have it's one of the main things I've written about I write about time all the time I've always had a weird fixation in relationship with time because of the fact that my birthday is on leap year and so I'm third I've had 13 birthdays I'm 13 years old right um and so wow it's always made me look at Empire uh because it's empire that is you know we follow the Gregorian calendar from the Roman Empire before that it was the August you know the Julius calendar all of this stuff so it's always made me look at an Empire um how we how we project this idea of Time Versus how it's experienced right so anyway yeah and I'm really struck by I'm always interested when there's co-directors how the collaboration works and I know Ania you were the cinematographer on this project um obviously sa you worked on the music the script um and I'm sure there's overlap there um in some respect but I wonder maybe Ania if you could start out just telling us How would how did you approach the collaboration and how did that unfold on Set uh well yeah uh the collaboration was uh very natural um there is nothing that was like said like we decide to do this or you know um uh we'll meet at this point for this it it was very uh um uh organic and um and everything like kind of flow Flo Flo um so so Soul started the project um with writing the music and um I was in the Next Room and I was here ing the music um come together to life and he was building the soundscapes and you know approaching um words and characters and so me I was thinking of colors and moods and and you know uh shape and movement and and so he would write down something and then I would come and um contextualize it in a cinematographic language meaning U movement framing um uh you know um Ania has a yeah that that along with her sense of vision and and and and and what have you is also a technical sense and and I I characterize Ania as an actual director where where I don't think I would be able to execute this without her and so I would write down ideas and and like she was saying there are times where she'd be like yeah but we need you have to think of the camera movement you have to oh oh he would be like a um you know um giving some crazy idas like like and now you know it's his heartbeat and U 20 drummers are there yeah and um and you know we hear it's his heart it's his heart but in fact it's you know and so when he lifts up the body like it's his heart but we here see you and so I would like be like oh great oh we how how are we going to do this you know how to plan how to uh how to make it like um uh feel like how he he he he he writes it you know so it was like a kind of already translation um um that further along the line would go into translating into kinanda into the lingu there is a lot of uh yeah so it's it was and so I would say oh we could do this and then he would be like oh so the next scene can be this you know it's it's like that yeah a lot of fun I like that she said translation cuz it something that popped up in my head about writing music writing lyrics in English that made me um it was important for me to write Loosely so to speak like just the idea and and the important thing and those things and not too much more because we knew that it wasn't going to stay there I knew that I was writing the subtitles and I was very excited about that actually I was that's all I wanted to be able to claim like I wrote the subtitles like like um so then in the translation it became very important to keep the gist of because of course certain ideas you know in in different languages they translate differently to keep the gist of things so that they would stay true so that if someone who speaks kin Rand could watch the film and go what the [ __ ] is happening to the subtitles that's not that you know what I'm saying like it needed to to find that balance so anyway yeah there but there's a lot of of um of of that happening literally and kind of metaphorically as well in terms of but you know Ania in the Next Room Ania would send me like in in a day like 40 images that she sourced and like look at this look at this look at this so so then those images found their way into the music so to speak like oh wow yeah yeah yeah yeah you know so there's also there was a lot of back and forth and organic yeah no yeah or or I would uh take a a lyric um met that girl on Friday night you know and purple light and and what what what yeah you know and and it was also like that the communication was also through um you know um moods and and and and yeah yeah I mean it's still it's worth to me saying just how beautiful the images are and you know I always in particular am happy when um because it you know throughout film history it's been so rare that like melanated skin tones are lit properly and lit in such Artful ways and so many of your scenes happen at night and yet you know there's no you know distance between us and the characters you know and so I I think also what's really interesting about your film as many forms as it breaks like when you actually watch it it feels like that's a function of the way you constructed it behind the scenes I understand that you like when you cast it you you know empowered your actors to help create the characters um of course you had these amazing I I wore my keyboard earrings today because of as a homage to the the bomber that meloa wears did you all see that yes um um you had some amazing um creative collaborators so tell us a little bit more about like how you work with the actors and and how you um brought your your creative crew on board you know it's it's that's when something has to happen I don't know there is a kind of um um evidence that manifested throughout this project at each step so um for the the um costumes and and um production design Cedric misero who is um a young Randon um uh Artist Artist fashion designer genius um resourceful um that we met in 2017 when we went um to to kind of for to for scouting and in the same time we shot a scorel because we were about to do a crowdfunding uh for the film and um and we met that young um very shy genius um through a friend um and uh yeah and and and yeah and and he came he came by to meet us uh through this friend and and she be like you have to meet this artist like he's he's he's a he works in fashion and all the stuff but you know it's zero weight stuff that he does you just have to meet him and so we met him and told him what we were there working on and the idea of Neptune and ew and a village made of computer parts all this stuff you know and he shows up the next day and he goes something like this and he had made sandals out of motherboards and he was 2 three yeah very um yeah so we were like and so yeah that that from that he was a part of our team yeah that's that's a very important um uh you know it's it's like those magical um meetings uh that that are I don't know that that goes beyond what is required or or you know what what you need it it just nourishes he nourished so much of this film uh with his um his world his uh his uh his talent his eye and he introduced us to uh um a number of young artists um art artisanal artists um who who worked on the set with him and um so he had a full crew yeah um and then um we met here um Tanya mandz who did the makeup here in in Los Angeles and AKA lady soully on Instagram and um when you had already worked with her yeah and then we were like wouldn't be they would be great together they would be great so it's the only artist that we brought from the United States uh to to Rwanda for the set and they they just bonded immediately bonded and created um and so it was also a kind of du you know that was was like uh very uh very um yeah interesting synergistic so T Tanya did hair and makeup T arrived on set um arrived in the country like she arrived late remember she she arrived the first day the first day of shooting so she didn't have any prep she she brought her suitcases to the set and and and began doing people's hair and bring and she came with all these ideas and met Cedric right then in there and and like and just yeah just bred um you all should start thinking about your questions I'm going ask one more question then we're going to throw it to you all um and um if our house staff can get the mics ready to um you know watching it this time something that really struck me was the way you all portray gender um and I wonder if you could just um talk about what was the Genesis there of um how were you thinking about gender and portraying that transition of your protagonists um on screen well I mean it's an idea that was there from the jump right um we were looking at the Spectrum of of gender we were looking at um the technology of awareness right and and relationship to that technology and to our own awareness and and all of this and so and then on on many other levels right two because we were looking at wiring um how things are wired um and looking at our own hardware and how we are wire software um and and so it was a consistent part of the med so to speak from the jump you know and it and and it also had to do with the the the sort of futuring of of of social dialogue and saying this is also something that needs to be a part of this conversation if we're also talking about the the drum as the earliest form of wireless communication we also need to you know signify the the role that colonialism has played on gender and we need to you know have a character that that kind of symbolizes this you know so um yeah I mean it it was as important as as as everything else you know the which was everything else being everything from like the time and attention and easia put into lighting dark skin um into the fact that you know there are no white people in the movie um into the fact that you know like all these things that are are all intentional that are all you know um I think it will also talk to empowerment you know it's a film that is yeah that that approaches that notion of um you know how to reclaim your own power and um and one of the way in in in narration is also to uh to be um um in conversation with with life with with what what you know with with all of the the the the things that um are not centered in uh in narration so to film in Ronda with those actors in that language and about those things all of that um yeah sounded F sounded like what we wanted to talk about and that is not talked about and how can we provide a magical um you know uh space for that those stories to just be and it did engender something even on set I'm thinking of um of a of a of a of a LOL you know yeah yeah yeah it's it was also the building of a oh it when you when you make that type of stories and and and you are you you you are willing to tell those type of stories of course um it attracts also a way of thinking um a set of U providing safe space a a safe space for uh all those uh you know uh characters and and and and stories and so of course it also um attracted um people in the re in reality in Real Life actors that found a space there that was um uh that was welcoming welcoming so yeah so when we were while we were in Rwanda doing pre-production in November December October of of 2019 um a lot of the roles have been cast but not all not all of them um and one of the roles that hadn't been cast was the role of LOL um LOL is the character who has the U kind of like robotic arm and um and up until a certain day uh LOL was essentially written to be a a a dude right um but one day we arrived after scouting um we arrived back at our office and we were told there's someone here waiting for you and um yeah and someone had been waiting for us for many hours and we so we see uh Rebecca mucho who plays the who's there and who says um well um I'm here because I feel that it's the only place I can you know um be I I think I need to be here um I am I heard about this project and you know um I'm looking for a job um I just got outed um step back into the country yeah and um I was on a TV show and I was fired and um I cannot find any job anymore Etc and I'll do anything um because I I I feel that this this place is is a and we are all allowed to tell that story because she herself um yeah uh asked us to to tell that story so uh so he he saw her her and yeah so she's like I can I can you know I don't know if you have cuz she's a she's a director and an actress and and and had said you know I can you know I can work in any capacity on set um it's just that you know I need to be in a safe space and I really feel like this is a welcoming Place environment and blah blah blah blah but as she's talking I'm like huh Ania can I talk to you for a second go in the other room like couldn't that be LOL like isn't that her like yeah and and so we went back and she pulled out a camera you started filming her I was like can we do a little screen test and I feel like there are like a million stories on your project like like even more than than you know usual which is amazing um I want to turn to you all does anyone have a [Music] question um there's someone here um on my left yes my M's coming to you hi um thank you for being here your film was beautiful um I wanted to ask largely when I look up this film it's described as an afro futurist film so I'm wondering how y'all feel about that classification and what that term means to you great question great so um real quick that is a word that anesia norai ever used while thinking of this project we were making a a science fiction musical but we were aware um once uh once we started showing it to people and people go oh this is afro futurism we saw the public dialogue and and had conversations about how much energy we should put into fighting it or just like let these [ __ ] call it whatever they want you know you know um but for us we what what is amazing is that our um on our opening night right in wasn't our Premiere that we went to was in Brooklyn at bam oh yeah yeah yeah where we discussed afro presentism oh yeah yeah yeah yeah afro presentism yeah with Nema and and well you you know if you if you talk to the the the production designer um fash you know that made the costumes for him he's like no this is our life this is how we this is how we dress you know so yeah it's it's uh it's it's it's always interesting um gender all of that yeah so you know I mean in a nutshell like you know like we without putting to much weight on it um it's not something that we were we were contemplating I I consider myself lucky because as a teenager I was reading Octavia Butler and and I and that to me was the gift and it didn't fit into the box of whatever those types of terms and terminology I mean I I have the same sort of problems when people say [ __ ] like spoken word or slam poetry I'm like what the [ __ ] are you talking about you know but then I see Miles Davis and Charles domingus get upset when people call their music jazz so I'm like okay I get it I get it I get it I get it okay whatever one more question um there's a gentleman down here I'm seeing I'll just repeat the question what would you say are the narrative structural elements that are specifically Rwandan a lot a lot first off the drums I mean it's really those drums are really specific to Rwanda and Burundi um and and Randa and Bundi are built up on um on a a cosmogony that um centers the drum so the drum is very important uh in uh in um in our ancestral beliefs um so he the the so then after that I would say that um in terms of the the the the Rhythm the layers and the Poetry of the film as well as well um there is a great tradition of of epic poetry in Rwanda which were the poems of the court right so everything was told through poems that's how we have our archives actually and uh so the the meeting between Sauls and and and and and the Randon poets uh is I think very specific and very um very um in connection at least with with with that tra tradition of um of uh and then um you know I think the the thing in front of of of of the of it all is is those people you know the land um I mean as an outsider this is the greenest place I've ever been I mean I so love the idea of scouting you know as an opportunity to see these countless Hills Hills after Hills it's like a a country of San Francisco in terms of Hills seriously it's just Hills and green upon green upon green upon green and it's just mindblowing the the um just the dimensions of green and and and and scenery in those regards and so when you take that and you think about this sort of uh documentarian National Geographic relationship that many westerners have with depictions of the continent or you think you think about Rwanda and and how that is pushed to be perhaps the last thing you would think about is the beauty of it right um all of these things are are are crucial elements and and and and actually from the from the jump I mean the entire story the the the the the question of of Smashing and transforming the sense of the binary and all of this stuff was born out of my initial conversations and interactions with Ania so so even more than what she has described like all of it comes from this sort of uh so there is no tradition of of film per se in Rwanda there was no film before the 2000 literally none there is one king Salomon and the mindes or something like that Paul Rob that they shot in the 1950s you know where you can see the dancers Etc it's a crazy film 1937 1937 yeah crazy so in terms of uh moving images um it's really uh before the the the 2000 and it's really like um the traces that the archives that we have are like either you know uh religious filming of event or you know uh orangs and things like that and then came also all the uh images of uh of horror that that uh came um out of there and and so um uh in terms of the tradition of film making there is everything to be done and there so there is also um a desire to give more than to take you see so um to to be part of of of um of uh yeah of of a possibility for telling stories um uh in in in yeah in in many in in new ways or in you know out of the Gears of colonialism out of the gears of um yeah of horror or out of the gears of documentary but just really trying to find what what is what is it and one more quick story which is that um at one point you know there there there is a woman in the film The Elder woman who plays an um uh yeah her name is Cecil kba and and it is from a Rwandan perspective it's it's as if we have Nina Simone or cesari aora in the film like it's it's it's such an important icon and the fact that she agreed to be in the film is is crazy um and she's an extraordinary poet as well as singer and um and it was her first film appearance yes and and it's her screen debut at the age of 75 or whatever when we shot it um and it's really her handing the Baton to a new generation of of artists there um who are all like the days that she spent on set who are all gathering around her like oh you know like it's you know it's like if yeah you know it's serious yeah serious but before we cast her um which came about in a last minute sort of way and it was a beautiful thing how it happened but before that happened we were looking for the person who would play this elder woman and at one point we were looking at we considered the mother of um of of Kaa who plays mat mataluza you know um main one of the main characters um and so he's like well maybe my mother will do it you know and he's like but I don't know because you know she's very religious huh and I don't know and so she's like she wants to meet you she wants to meet you you come you come to our house she wants to meet you and talk to you and then we'll see if she'll do it so I go to meet ka's Mom and um and so she's like so tell me about this movie what is this story and so I tell the story of this intersex hacker and the miners and da d da and da and the transformation you know and being born in your 23rd year and all of this stuff you know and when I finish she goes Ka you know this story I told you this story as a kid this is an old berian folk tale we know this story yes that too yeah yeah I mean I feel like we're just scraping the surface on this film but more conversations to come in the future thank you all so much for coming out tonight thank you all for being here thank you Salia thank you coming out yeah